Rolling Stone's Scores

For 4,534 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Joe Versus the Volcano
Score distribution:
4534 movie reviews
  1. The film never musters the intimate feel the gifted director brought to such early films as "Raise the Red Dragon" and "Ju Dou." You cheer his accomplishment in Hero without ever feeling close to it.
  2. Simón refuses to allow Alcarràs to settle for being just one thing; she drifts between her characters’ moods with rare realism.
  3. As with other movies that capture the joys of cooking and the carnal thrill of eating, this French romantic drama is as much an ode to regional bonne bouches as it is an epic tale of two epicures.
  4. This is more than a movie, it's a privilege.
  5. The director and her cinematographer Rachel Morrison do wonders with the elements that batter the people of every race and social class in the Delta. But it's the storm raging inside these characters that rivets our attention and makes Mudbound a film that grabs you and won't let go.
  6. What's lucky is that no matter what language it's in, My Life as Zucchini never sacrifices what’s true for what’s trite and easier to sell. This is animation as an art form, inspiring and indelible.
  7. Poetic is a word that goes thrown around easily and abundantly, especially when it comes to documentaries that forego any sort of standard interview-clip-context-rinse-repeat format. But it’s hard to think of a better adjective to describe the early sequences of Honeyland.
  8. Mitchell gives this post-punk, neo-glam rock extravaganza everything in his loaded arsenal of talents. He gets the sound right, the look right, the fun right and - this is crucial - the pain right.
  9. Holy Motors, fueled by pure feeling, is a dream of a movie you want to get lost in. It's a thing of beauty.
  10. Unforgiven is the most provocative western of Eastwood's career, and with Gene Hackman, Morgan Freeman and Richard Harris along for the ride, it's also the most potently acted.
  11. No fair giving away the mysteries of The Dark Knight. It's enough to marvel at the way Nolan -- a world-class filmmaker, be it "Memento," "Insomnia" or "The Prestige" -- brings pop escapism whisper-close to enduring art.
  12. It'll slap on a smile on your face that won't quit.
  13. Bejo (The Artist) digs deep into the secrets and lies that have afflicted all her relationships, in a wonderfully affecting film that haunts you long after it ends.
  14. Anyone who’s ever wondered what a rom-com collab between Nora Ephron and Tom of Finland might look like now has a definitive answer to that question.
  15. It’s a great espionage thriller, and an even better scenes-from-a-marriage drama. Ian Fleming would love this. So would Ingmar Bergman.
  16. What eventually emerges is a peerless portrait of collective trauma — a devastating look at how this law not only sociologically gutted a country but made everyone complicit in the crime.
  17. Like the music, the film is outspoken, roaringly funny, defiantly sexual and relentlessly in your face. I couldn't have liked it more.
  18. You can barely call it a movie. You can, however, recognize it as one of Wes Anderson‘s best attempts at transforming both his and his literary idol’s idiosyncrasies into something like art — and the most satisfying posthumous double act in ages.
  19. Nothing in Joe Wright's screen version of Ian McEwan's dense, internalized 2001 novel of secrets and lies should really work, but damn near everything does. It's some kind of miracle. Written, directed and acted to perfection, Atonement sweeps you up on waves of humor, heartbreak and ravishing romance.
  20. Like its predecessors (Badlands, Days of Heaven, The Thin Red Line and The New World), Tree delivers truths that don't go down easy. No one with a genuine interest in the potential of film would think of missing it.
  21. We expect cinematic fireworks with a stylist like [Park]. It’s his sense of restraint and his substance, however, that makes what could have just been a clever check-out-these-moves exercise feel like a genuinely emotional showstopper.
  22. Rather than telling you how young women are affected by this, Patton and Rae show you. And to watch one of the interviewees go for being a joyous, giddy, chatty child to being a slightly older, more distant and jaded tween is heartbreaking.
  23. If the movie does adhere to his signature beats, and feature so many recognizable Spielbergisms, occasionally to its detriment, it’s still one of the most impressive, enlightening, vital things he’s ever done.
  24. Is it that scary? Yes. Will it reduce you to quivering jelly? Oh, my, yes! Does it bust the bonds of the Godzilla formula to fuse fright with feeling? Better believe it, dudes.
  25. The filmmakers offer no commentary. We watch. And what we see is explosive, deeply moving and impossible to shake.
  26. It’s a demonstration of directorial chops that somehow never devolves into a look-mamushka-no-hands display, and a textbook example of how to use handheld camerawork (courtesy of cinematographer Kseniya Sereda) and splashes of red, green, and goldenrod effectively without being garish or grandiloquent.
  27. In these troubled times, it's a good feeling to see a funny, touching and vital doc that is both timely and timeless.
  28. As for Lee, he clearly relates to this material and the questions of political, musical and family identity he himself raised in films as diverse as "Malcolm X," "Mo' Better Blues" and "Crooklyn."
  29. Reichardt has crafted a haunted dream of a movie to get lost in.
  30. Fruitvale Station is a gut punch of a movie. By standing in solidarity with Oscar, it becomes an unstoppable cinematic force.

Top Trailers